<u who="nm0048"> there's <pause dur="0.2"/> a sign-up sheet starting <pause dur="0.9"/> from him <pause dur="0.5"/> and going <pause dur="0.2"/> to the front hopefully <pause dur="0.8"/> so if you suddenly realize you haven't got it give us a shout <pause dur="0.5"/> now what i want to do today is <pause dur="2.0"/> to look at another case study <pause dur="0.2"/> 'cause we were looking last time at <pause dur="0.5"/> # the Imperial Way Via dell <pause dur="0.3"/> dell'Impero <pause dur="0.2"/> at the centre of Rome connecting the Colosseum up to <pause dur="0.2"/> the Victor Emmanuel monument yes <pause dur="0.7"/> remember that bit <pause dur="0.6"/> maybe <pause dur="0.2"/> bit hazy <pause dur="0.7"/> so <pause dur="0.3"/> there's a message also from <gap reason="name" extent="1 word"/> <pause dur="0.8"/> that your seminar this week <pause dur="0.5"/> # which if you haven't got the sheets from last time 'cause i gave them out <pause dur="0.3"/> there are some <pause dur="0.2"/> there so collect one on the way out <pause dur="0.3"/> they will be on Friday he's going to put a sheet up <pause dur="0.5"/> on the board <pause dur="0.2"/> to sign up <pause dur="0.5"/> to <pause dur="0.4"/> put you into groups so as usual seminars this week <pause dur="0.2"/> there's no lecture on Thursday <pause dur="1.0"/> right so <pause dur="0.3"/> today we want to look at <pause dur="0.8"/> what is known as Foro Italica it's where the Olympic Stadium is in Rome <pause dur="0.6"/> and <pause dur="0.2"/> what was happening <pause dur="0.2"/> in terms of the setting up of that architectural space <pause dur="0.4"/> so <pause dur="0.3"/> we want to carry on <pause dur="0.5"/> with our theme <pause dur="0.5"/> of <pause dur="0.2"/> looking at

architecture as a setting <pause dur="0.3"/> for <pause dur="0.2"/> modern activities <pause dur="0.4"/> in this case with reference to sport in particular <pause dur="0.4"/> in the nineteen-thirties <pause dur="0.9"/> nineteen-twenties and nineteen-thirties <pause dur="0.6"/> and looking at the references back to antiquity <pause dur="0.5"/> now to do that <pause dur="0.2"/> we have to do a certain amount of modern history <pause dur="0.5"/> which we'll try and keep to the minimum <pause dur="0.4"/> i mean in terms of dates events et cetera things to know <pause dur="0.4"/> so i want to start off with <pause dur="0.2"/> a quick run-through <pause dur="0.5"/> of <pause dur="0.3"/> the things which are <pause dur="0.5"/> happening in terms of modern history <pause dur="1.5"/> which are <pause dur="0.9"/> needed <pause dur="0.7"/> for doing <pause dur="1.5"/> this bit of the course <pause dur="0.4"/> right <pause dur="1.6"/> now <pause dur="0.8"/> the key thing here is <pause dur="0.6"/> the <pause dur="0.6"/> there's a reference back to antiquity always when it comes to the Olympics by the Olympic movement <pause dur="0.4"/> # on <pause dur="0.6"/> the bibliography there's an article by <gap reason="name" extent="2 words"/> History department <pause dur="0.3"/> looking at the earlier history of the Olympics so if you want to know more about the Olympics generally <pause dur="1.2"/> now <pause dur="0.3"/> key things <pause dur="0.3"/> in terms of <pause dur="0.5"/> what is happening in Rome <pause dur="0.7"/> once again <pause dur="0.5"/> Mussolini isn't starting something completely new <pause dur="0.4"/> it's a key

thing here is it's not completely new <pause dur="0.5"/> nineteen-o-eight <pause dur="0.2"/> Rome had made a bid <pause dur="0.5"/> for the Olympic Games <pause dur="0.7"/> definite bid <pause dur="0.4"/> to get the Olympic Games <pause dur="0.2"/> into Rome <pause dur="0.6"/> there were plans to <pause dur="0.4"/> build a new stadium <pause dur="0.4"/> build a new sporting complex <pause dur="0.2"/> so <pause dur="0.3"/> in this case we get <pause dur="0.7"/> an example of something which has been thought of <pause dur="0.3"/> been done before <pause dur="0.5"/> but is going to have a greater relevance in the nineteen-thirties in terms of <pause dur="0.4"/> actual happening <pause dur="1.6"/> the <pause dur="1.0"/> Rome is also making a bid for the Olympics of nineteen-forty and nineteen-forty-four <pause dur="0.3"/> and it was decided in the late thirties that Rome would have the Olympics in nineteen-forty-four which never happened <pause dur="0.6"/> after <pause dur="0.3"/> the Second World War <pause dur="0.7"/> this building <pause dur="0.8"/> over here <pause dur="0.4"/> became the headquarters of the Olympic movement <pause dur="0.2"/> so <pause dur="0.4"/> although this is <pause dur="0.2"/> strongly associated with fascist Italy <pause dur="0.4"/> its use today is linked in to that tradition <pause dur="0.3"/> of the Olympics <pause dur="1.9"/> now <pause dur="1.6"/> in terms of <pause dur="0.7"/> what <pause dur="0.9"/> we need to know here <pause dur="1.2"/> there is something called the O-N-B <pause dur="1.2"/> right now the O-N-B <pause dur="1.0"/> is <pause dur="1.0"/> it's on your handout most of the factual details

you'll find are on your handout <pause dur="0.6"/> the <pause dur="0.5"/> O-N-B <pause dur="0.4"/><kinesic desc="puts on transparency" iterated="n"/> is <pause dur="0.8"/> a national organization <pause dur="0.2"/> for <pause dur="0.2"/> youth <pause dur="1.1"/> and <pause dur="0.5"/> in terms of what it does <pause dur="1.3"/> it's a very male <pause dur="1.1"/> it's called the Opera Nazionale Balilla <pause dur="0.2"/> Balilla was <pause dur="0.4"/> a revolutionary in Italy in the seventeen-forties <pause dur="0.2"/> who revolted against Austria <pause dur="0.3"/> brought Italy away from Austria <pause dur="0.5"/> so it's a reference back to Italian history <pause dur="0.6"/> but if we look at the organization <pause dur="0.9"/> this is the male organization the female organization <pause dur="0.3"/> is <pause dur="0.4"/> quite is simple <pause dur="0.4"/> in terms of it's a different structure <pause dur="0.2"/> if you're between the ages of nought and fourteen <pause dur="0.3"/> you are <pause dur="0.5"/> # <pause dur="0.2"/> the female children of Italy <pause dur="0.4"/> if you're from fourteen to eighteen <pause dur="0.3"/> you are the young women of Italy so again <pause dur="0.3"/> there is a <pause dur="0.4"/> # <pause dur="0.4"/> a female aspect to this as well as the male aspect the male aspect <pause dur="0.3"/> has more references back to <trunc>antiqui</trunc> to antiquity <pause dur="1.8"/> the <pause dur="0.4"/> structure of the whole organization <pause dur="0.3"/> is <pause dur="0.6"/> imbued with ideas of antiquity <pause dur="0.6"/> between the ages of nought and eight <pause dur="1.7"/> you're in what's called the groups known as the Sons of the Wolf now we're

straight back to Romulus and Remus here <pause dur="0.6"/> we're straight back into <pause dur="0.4"/> that idea <pause dur="0.2"/> of antiquity <pause dur="1.6"/> but then between the ages of eight to fourteen <pause dur="0.2"/> you're what known <pause dur="0.6"/> you're in what's known as the Balilla <pause dur="0.2"/> the Balilla is again this revolutionary <pause dur="0.3"/> from <pause dur="0.2"/> the eighteenth century <pause dur="0.2"/> so that's a reference to <pause dur="0.2"/> Italian history it's creating <pause dur="0.2"/> the two together <pause dur="1.6"/> in between fourteen and eighteen <pause dur="0.3"/> you become <pause dur="0.5"/> members of the Advanced Guard <pause dur="1.2"/> so <pause dur="0.3"/> in terms of that structure <pause dur="0.2"/> we have an automatic reference back to antiquity <pause dur="0.5"/> reference to <pause dur="0.5"/> Italian national history <pause dur="0.6"/> and then <pause dur="0.5"/> a reference to what's going on now to seems to # <pause dur="0.2"/> see the Advanced Guard of <pause dur="0.3"/> Fascism and again the cult of youth is very important here <pause dur="1.8"/> now <pause dur="0.4"/> when you go <pause dur="1.2"/> through <pause dur="0.2"/> the actual <pause dur="0.2"/> organization as well <pause dur="0.9"/> in terms of how <pause dur="0.8"/> the boys are organized <pause dur="0.9"/> eleven boys <pause dur="0.2"/> is what's known as a squad <pause dur="1.5"/> then you have <pause dur="0.3"/> three squads <pause dur="0.3"/> equals a maniple a maniple is one of those <pause dur="0.3"/> names used for <pause dur="0.3"/> military organizations in ancient Rome <pause dur="1.1"/> then you have three <trunc>mam</trunc> maniples <pause dur="0.3"/> makes up a

century <pause dur="0.7"/> typical <pause dur="0.3"/> idea of <pause dur="0.2"/> Roman organization the century again <pause dur="0.7"/> and then you have <pause dur="0.5"/> three centuries <pause dur="0.2"/> equals a cohort <pause dur="0.3"/> and three cohorts equals a legion <pause dur="0.3"/> they don't <pause dur="0.2"/> replicate antiquity <pause dur="0.5"/> but they <pause dur="0.5"/> make reference <pause dur="0.2"/> to <pause dur="0.4"/> antiquity's military organization <pause dur="1.6"/> now what <pause dur="0.6"/> does the O-N-B do <pause dur="0.2"/> really <pause dur="0.3"/> it's a organization <pause dur="0.4"/> for <pause dur="1.0"/> children to be in principally <pause dur="0.9"/> it's also involved <pause dur="0.5"/> in <pause dur="0.2"/> physical education <pause dur="0.3"/> <trunc>physu</trunc> physical education <pause dur="0.3"/> and the setting up <pause dur="0.5"/> of <pause dur="0.6"/> athletics <pause dur="0.2"/> organizations so <pause dur="0.3"/> the link <pause dur="0.2"/> comes from <pause dur="0.6"/> this voluntary organization <pause dur="0.3"/> it's a sort of after school organization <pause dur="0.2"/> you could see parallels with things like the Hitler Youth in Germany <pause dur="2.0"/> the other thing <pause dur="0.2"/> the O-N-B <pause dur="0.4"/> which is all you need to know don't <pause dur="0.3"/><kinesic desc="changes transparency" iterated="y" dur="6"/> try and learn the long title <pause dur="3.2"/> what it's doing in Rome <pause dur="0.9"/> is it's setting up <pause dur="0.7"/> plans <pause dur="0.9"/> after it set up in nineteen-twenty-six we see the first plans <pause dur="0.2"/> for the sports <pause dur="0.8"/> complexes <pause dur="0.2"/> in Rome <pause dur="0.9"/> now <pause dur="0.4"/> the key here <pause dur="0.4"/> is <pause dur="0.2"/> the <trunc>g</trunc> link between sport <pause dur="0.3"/> education <pause dur="0.3"/> and politicalization <pause dur="0.5"/> the three things go together <pause dur="1.3"/> and <pause dur="0.4"/> what is also set up in that year <pause dur="0.5"/> is <pause dur="0.3"/>

the fascist <pause dur="0.5"/> Academy <pause dur="0.2"/> of Physical Education <pause dur="0.8"/> and <pause dur="0.3"/> that academy <pause dur="0.7"/> is was going to be <pause dur="0.3"/> in this building here <pause dur="0.8"/> right right next this is the Olympic Stadium <pause dur="0.4"/><kinesic desc="indicates point on slide" iterated="n"/> people may know from football <pause dur="0.5"/> and <pause dur="0.2"/> on this side <pause dur="0.3"/> over here <pause dur="0.3"/><kinesic desc="indicates point on slide" iterated="n"/> was going to be <pause dur="0.3"/> the <pause dur="0.7"/> # <pause dur="0.5"/> Academy <pause dur="0.3"/> for Swimming <pause dur="0.6"/> so on this side you have swimming <pause dur="0.5"/><kinesic desc="indicates point on slide" iterated="n"/> this side you have athletics <pause dur="0.4"/><kinesic desc="indicates point on slide" iterated="n"/> right in the middle <pause dur="0.4"/> you have <pause dur="0.3"/> the football stadium <pause dur="1.1"/> so what we want to look at here <pause dur="0.3"/> is <pause dur="0.9"/> to think through <pause dur="0.2"/> how this structure is being set up <pause dur="0.3"/> what are the architects doing in terms of <pause dur="0.3"/> references back to antiquity <pause dur="0.2"/> and what are they trying to do in the present <pause dur="0.5"/> so here what we see <pause dur="0.6"/> when <pause dur="0.3"/> we go to Foro Italico <pause dur="0.3"/> sorry over there <pause dur="0.5"/> today <pause dur="0.5"/> we see <pause dur="0.2"/> the setting <pause dur="0.4"/> for this organization <pause dur="0.2"/> the setting up for <pause dur="0.2"/> seeing <pause dur="0.2"/> the idea of sport education and politicalization <pause dur="0.4"/> all running together <pause dur="7.3"/> so <pause dur="0.2"/> just have some more <pause dur="0.6"/> dates on this side and then we're go and look at <pause dur="0.2"/> the actual structures themselves which is probably more <pause dur="0.4"/> interesting <pause dur="1.1"/> now originally <pause dur="1.7"/> what was going to be set up was a Forum of Sport <pause dur="0.5"/>

Forum of Sport had always been on the cards the idea of the ancient concept of a forum <pause dur="0.7"/> this had been <pause dur="0.5"/> an idea floating around from the nineteen-o-eight Olympics bid <pause dur="0.4"/> that there should be a new Forum of Sport <pause dur="1.2"/> now <pause dur="1.6"/> that <pause dur="0.2"/> concept <pause dur="0.5"/> the plan to set up in nineteen-twenty-seven <pause dur="1.0"/> and gradually as the plans evolve <pause dur="0.4"/> we find that Mussolini <pause dur="0.2"/> is starting to <trunc>im</trunc> <pause dur="0.4"/> be put over the top of those plans <pause dur="1.0"/> nineteen-twenty-seven you have to remember was only five years after the march on Rome <pause dur="0.2"/> by Mussolini so the state <pause dur="0.3"/> the fascist state is only five years old <pause dur="2.7"/><kinesic desc="changes transparency" iterated="y" dur="6"/> now in nineteen-thirty <pause dur="2.1"/> the Forum <pause dur="0.9"/> of Sport <pause dur="0.5"/> is renamed <pause dur="0.6"/> the Forum <pause dur="0.2"/> of Mussolini <pause dur="0.8"/> today we call it <pause dur="0.7"/> Forum of Italy because it was re<pause dur="0.4"/>named again after the war 'cause it couldn't any longer be called <pause dur="0.5"/> the Forum of Mussolini it wasn't politically <pause dur="0.5"/> # <pause dur="0.2"/> we would say today correct or politically acceptable then <pause dur="1.1"/> in nineteen-thirty it's renamed by the architect <pause dur="0.3"/> the Forum of Mussolini <pause dur="1.0"/> at this point <pause dur="0.8"/> there is a linking back <pause dur="0.2"/> of <pause dur="0.2"/> the person <pause dur="0.7"/> onto <pause dur="0.5"/> if you

think in the nineteen-thirties <pause dur="0.4"/> early nineteen-thirties the excavations <pause dur="0.4"/> of the Forum of Augustus are beginning <pause dur="0.8"/> as we saw last time or the Forum of Julius Caesar <pause dur="0.3"/> or the Forum of Trajan <pause dur="0.4"/> so again <pause dur="0.4"/> the associations of the word forum <pause dur="0.6"/> suggests sort of basically a square around which buildings are placed <pause dur="0.3"/> in terms of antiquity <pause dur="0.4"/> but <pause dur="0.3"/> by linking it to a named person you have a link back to the emperors of Rome <pause dur="0.3"/> so again <pause dur="0.2"/> we have this link with antiquity <pause dur="2.4"/> now <pause dur="0.8"/> the actual <pause dur="0.9"/> structures <pause dur="0.3"/> take <pause dur="0.5"/> have been <pause dur="0.7"/> being constructed <pause dur="0.4"/> up to <pause dur="0.3"/> nineteen-thirty-two <pause dur="0.7"/> and this is the <trunc>te</trunc> for the tenth anniversary <pause dur="0.2"/> of the march on Rome <pause dur="0.6"/> they are inaugurated <pause dur="0.2"/> so again <pause dur="0.2"/> nineteen-thirty-two's a very important date to know <pause dur="0.2"/> as we saw last time <pause dur="0.3"/> when we were talking about <pause dur="0.4"/> the Imperial Way in the centre of Rome <pause dur="0.2"/> connecting the Colosseum <pause dur="0.6"/> to the Victor Emmanuel monument <pause dur="1.1"/> so tenth anniversary Mussolini goes to inaugurate the first buildings are completed <pause dur="0.6"/> and its <pause dur="0.4"/> the first buildings <pause dur="0.5"/> included <pause dur="0.4"/> the Obelisk here <pause dur="0.3"/> the Athletics <pause dur="0.5"/>

Academy <pause dur="0.4"/> and the stadium's behind it <pause dur="2.0"/> what we then find <pause dur="2.1"/> is <pause dur="0.6"/> in nineteen-thirty-seven <pause dur="0.6"/> additional structures are being built <pause dur="0.6"/> nineteen-thirty-seven <pause dur="0.4"/> is the year in which <pause dur="0.5"/> empire is declared for Italy <pause dur="0.5"/> and this is where <pause dur="0.7"/> we find <pause dur="0.6"/> Piazza dell'Impero <pause dur="0.3"/> or <pause dur="0.2"/> the Piazza <pause dur="0.4"/> of <pause dur="0.5"/> Empire <pause dur="0.7"/> which is <pause dur="0.7"/> in here before you get to the Olympic Stadium <pause dur="0.5"/> that <pause dur="0.2"/> is completed <pause dur="0.2"/> for nineteen-thirty-seven <pause dur="2.0"/> and <pause dur="0.7"/> what we gradually see <pause dur="1.1"/> in terms of what this structure's doing <pause dur="0.3"/> it's outside Rome it's to the north of Rome <pause dur="0.5"/> but it's going to be <pause dur="0.2"/> the entry point into Rome <pause dur="0.6"/>

so it's almost as though <pause dur="0.4"/> this is going to be the first point <pause dur="0.4"/> on what you could say <pause dur="0.6"/> is the entrance into Rome <pause dur="0.3"/> entrance into modern Rome <pause dur="2.1"/> right <pause dur="0.3"/> so <pause dur="0.3"/> in terms of <pause dur="0.5"/> a boring date <pause dur="0.2"/> that <pause dur="0.4"/> will keep you going <pause dur="0.2"/> for your exams <pause dur="0.3"/> basically in a year's time <pause dur="0.4"/> that's all <pause dur="0.2"/> the dates you would ever need to know <pause dur="0.7"/> there are some more <pause dur="0.6"/> on the handout but that's <pause dur="0.3"/> the overall political structure <pause dur="0.4"/> is there <pause dur="0.8"/> so <pause dur="1.0"/> key thing let's think back <pause dur="0.2"/> it's not a new project <pause dur="0.3"/> but <pause dur="0.2"/> there's going to be something different about it <pause dur="0.2"/> once it becomes more <pause dur="0.6"/> # <pause dur="0.5"/> organized by fascism <pause dur="0.9"/> and <pause dur="0.2"/> will have a greater reference to antiquity <pause dur="1.0"/> right so <pause dur="0.2"/> to look at the structures themselves <pause dur="0.9"/> we're mostly <pause dur="0.2"/> going to be concerned <pause dur="0.4"/> with the athletics area <pause dur="0.5"/> the <pause dur="0.3"/> i put on your handout <pause dur="0.6"/> # illustrations of all the buildings we're actually going to be referring to so <pause dur="0.2"/> afterwards you can look through them <pause dur="0.3"/> rather than having to depend on memory from <pause dur="0.3"/> the slides i show you <pause dur="2.5"/><kinesic desc="changes slide" iterated="n"/> right <pause dur="0.3"/> the first action <pause dur="0.7"/> which is taken <pause dur="0.2"/> in this process <pause dur="0.2"/> is to drain <pause dur="0.2"/> this

area <pause dur="0.4"/> just to the north of the Tiber <pause dur="0.9"/> in doing so a law is passed that all Rome's rubbish <pause dur="0.3"/> should be <pause dur="0.3"/> deposited here <pause dur="0.2"/> for two to three years <pause dur="0.3"/> and so it gradually builds up <pause dur="0.4"/> the embankment of the Tiber here <pause dur="0.3"/> this is just <pause dur="0.3"/> a marshy area <pause dur="0.3"/> which is going to be reclaimed <pause dur="0.6"/> and <pause dur="0.8"/> we see <pause dur="0.5"/> in that reclamation <pause dur="0.2"/> is <pause dur="0.2"/> is using a useless piece of land <pause dur="0.5"/> and <pause dur="0.2"/> reclaiming it through modern technology <pause dur="0.2"/> to create something new to create a new quarter of Rome <pause dur="0.4"/> and <pause dur="0.5"/> you might thinking here of <trunc>s</trunc> <pause dur="0.2"/> parallels with things like the draining of the Pontine marshes <pause dur="0.2"/> one of the most famous <pause dur="0.3"/> activities of <pause dur="0.2"/> the fascist government <pause dur="2.8"/><kinesic desc="changes slide" iterated="n"/> the plan itself <pause dur="0.2"/> is fairly simple <pause dur="0.2"/> in terms <pause dur="0.2"/> of a series of stadiums <pause dur="0.2"/> series of <pause dur="0.4"/> areas <pause dur="0.2"/> for which people are going to be <pause dur="0.2"/> mostly to do with sport <pause dur="0.7"/> now <pause dur="0.4"/> the key thing after nineteen-thirty-seven <pause dur="0.2"/> there's going to be a greater influence of politics <pause dur="0.3"/> politics becomes more important <pause dur="2.3"/><kinesic desc="changes slide" iterated="n"/> and <pause dur="1.1"/> the idea <pause dur="0.2"/> the architect's vision <pause dur="0.2"/> of what <pause dur="0.9"/> the area should look like <pause dur="0.4"/> the area is <pause dur="0.5"/> down here <pause dur="0.2"/> of the sports stadiums <pause dur="0.2"/> and

overlooking it <pause dur="0.2"/> should be the monument to fascism <pause dur="0.6"/> this <pause dur="0.4"/> rather strange victory monument <pause dur="0.2"/> which <pause dur="1.0"/><kinesic desc="changes slide" iterated="n"/> they made a model of it a mock-up of it <pause dur="0.3"/> again <pause dur="0.3"/> what we're going to see throughout <pause dur="0.7"/> the Forum <pause dur="1.0"/> of Mussolini <pause dur="0.5"/> is the idea of the male body <pause dur="0.3"/> the male body <pause dur="0.3"/> and the cult of the body is going to come through time and time again <pause dur="0.5"/> so the plan to overlook it <pause dur="0.4"/> is <pause dur="0.3"/> a colossal <trunc>struc</trunc> statue <pause dur="0.6"/> now colossal statues in the ancient world <pause dur="0.8"/> # you probably know that the Colossus <pause dur="0.3"/> of Nero next to the Colosseum <pause dur="0.7"/> was <pause dur="0.2"/> one of the enormous statues from antiquity <pause dur="0.3"/> here <pause dur="0.5"/> you're going to see <pause dur="0.7"/> a <trunc>ca</trunc> a colossus <pause dur="0.2"/> put next to <pause dur="0.2"/> and overlooking <pause dur="0.2"/> the modern sports stadium <pause dur="0.6"/> and <pause dur="0.2"/> it's significant that the Colosseum in Ancient Rome <pause dur="0.2"/> gets its name from the colossal statue next to it so <pause dur="0.4"/> again <pause dur="0.2"/> putting a colossal statue in there <pause dur="0.4"/> is not <pause dur="0.3"/> an original idea <pause dur="0.2"/> it has a reference straight back to antiquity <pause dur="3.3"/><kinesic desc="changes slide" iterated="n"/> now in terms of structure <pause dur="1.7"/> this is <pause dur="0.3"/> nineteen-thirties <pause dur="0.3"/> view <pause dur="0.4"/> of the stadium <pause dur="0.5"/> so remember the modern stadium <pause dur="0.2"/> modern Olympic Stadium <pause dur="0.4"/> got

extended <pause dur="0.2"/> for the last World Cup <pause dur="0.2"/> in nineteen-ninety <pause dur="0.4"/> here we see something different <pause dur="0.8"/> so <pause dur="0.7"/> if you <pause dur="0.5"/> were coming <pause dur="0.4"/> to the <trunc>s</trunc> <pause dur="0.3"/> to the stadium itself we want to move through <pause dur="0.4"/> what you would see <pause dur="0.6"/> the first thing you see <pause dur="0.4"/> is this enormous obelisk <pause dur="0.2"/> which is the first thing we want to look at <pause dur="0.7"/> then we want to look at this piazza <pause dur="0.5"/> the Piazza of Empire <pause dur="0.5"/> before looking <pause dur="0.3"/> at <pause dur="0.6"/> this structure here <pause dur="0.2"/> the <pause dur="0.7"/> central area <pause dur="0.2"/> for athletics in <pause dur="0.2"/> fascist Italy <pause dur="0.4"/> and looking at the stadium behind it <pause dur="0.4"/> before finally <pause dur="0.4"/> moving on <pause dur="0.4"/> to <pause dur="0.2"/> what was <pause dur="0.2"/> the football stadium itself so <pause dur="0.2"/> and we're going to pick up <pause dur="0.3"/> references to antiquity <pause dur="0.2"/> right the way through </u><pause dur="0.3"/> <u who="sf0049" trans="pause"> are all those buildings part of the forum </u><pause dur="0.6"/> <u who="nm0048" trans="pause"> yeah <pause dur="0.4"/> the thing with the forum is <pause dur="0.6"/> if <pause dur="0.4"/> in <pause dur="0.2"/> Ancient Rome <pause dur="0.8"/> in republican Rome the forum is <pause dur="0.6"/> a piazza <pause dur="0.2"/> which is surrounded by buildings put <pause dur="0.6"/> placed <pause dur="0.6"/> around it so <pause dur="0.2"/> when we say a forum <pause dur="0.2"/> we mean <pause dur="0.3"/> the whole area <pause dur="0.4"/> the whole area is called Forum <pause dur="0.3"/> Mussolini or Foro Mussolini <pause dur="0.9"/> so <pause dur="0.3"/> the individual buildings make up <pause dur="0.2"/> the forum <pause dur="5.0"/><kinesic desc="changes slide" iterated="n"/> right the first thing <pause dur="0.2"/> is <pause dur="0.7"/> the <pause dur="1.0"/> obelisk <pause dur="2.3"/> now <pause dur="1.7"/> this obelisk <pause dur="0.7"/> as you can see <pause dur="0.7"/>

has Mussolini's name on it <pause dur="0.3"/> and says D-U <pause dur="0.2"/> there's an X there <pause dur="0.3"/> Dux <pause dur="0.2"/> so <pause dur="0.2"/> leader <pause dur="0.3"/> reference back to Julius Caesar being perpetual dictator <pause dur="0.5"/> just as <pause dur="0.4"/> Mussolini is perpetual dictator <pause dur="1.0"/> however <pause dur="1.2"/> significantly <pause dur="1.4"/> this is made out of <pause dur="0.2"/> virtually <pause dur="0.3"/> one block <pause dur="0.2"/> of Carrara marble <pause dur="0.5"/> Carrara marble <pause dur="0.2"/> you may know <pause dur="0.5"/> is <pause dur="0.3"/> the white marble which Michelangelo uses <pause dur="0.3"/> that was <trunc>f</trunc> used for the first time <pause dur="0.5"/> in Augustan Rome <pause dur="1.6"/><kinesic desc="changes slide" iterated="n"/> the <pause dur="1.7"/> and you can see <pause dur="0.5"/> inscribed in it <pause dur="0.2"/> is one of the fasciae which we were talking about last time <pause dur="0.2"/> so always look for things like fasciae they crop up everywhere after a while <pause dur="1.3"/> the <pause dur="1.0"/> cutting <pause dur="0.2"/> of the block itself this was the biggest block of Carrara marble ever quarried <pause dur="0.5"/> again that idea of <pause dur="0.2"/> we're going to be better than everything which has gone in the past is there <pause dur="0.5"/> we're going to use the biggest piece of Carrara marble <pause dur="0.8"/> so it was <trunc>d</trunc> <pause dur="0.2"/> cut out <pause dur="0.2"/> at the quarry <pause dur="1.2"/> and then <pause dur="0.2"/> it was dragged <pause dur="0.2"/> by oxen <pause dur="0.2"/> through the towns of Italy it was something which was reported <pause dur="0.4"/> in <pause dur="0.6"/> Italian magazines and in the Italian press it was an

event in itself <pause dur="0.4"/> to actually bring this thing <pause dur="0.3"/> by road through the towns <pause dur="0.2"/> north of Rome <pause dur="2.8"/> and <pause dur="0.5"/> the spectacle <pause dur="0.3"/> it's almost like <pause dur="0.2"/> the spectacle <pause dur="0.2"/> of the monolith of Mussolini <pause dur="0.2"/> this is going to be the new idea <pause dur="0.4"/> of <pause dur="0.8"/> the obelisk <pause dur="0.2"/> where as we're going to talk about <pause dur="0.3"/> think about how that relates to obelisks from antiquity <pause dur="0.4"/><kinesic desc="changes slide" iterated="n"/> in a moment <pause dur="1.5"/> it was set up <pause dur="0.5"/> # <pause dur="0.4"/> in a way which was used by the Popes to set up obelisks <pause dur="0.2"/> in front of Saint Peter's <pause dur="0.4"/> and using <pause dur="0.2"/> hydraulics <pause dur="0.2"/> again <pause dur="0.3"/> the idea of modern technology <pause dur="0.6"/> and its utilization to be celebrated <pause dur="0.4"/> is also part of the fascist ideology <pause dur="0.4"/> so <pause dur="0.3"/> it uses modern technology <pause dur="0.3"/> but will have a reference back <pause dur="0.3"/> to antiquity <pause dur="2.9"/><kinesic desc="changes slide" iterated="n"/> now in terms of <pause dur="0.9"/> what it looks like <pause dur="0.6"/> this is <pause dur="0.3"/> and architects' drawings actually show you a <trunc>l</trunc> a lot about how <pause dur="0.5"/> people <trunc>th</trunc> <pause dur="0.2"/> the architect is thinking about things in terms of light and dark <pause dur="0.4"/> you always have a lot of very dark # <pause dur="0.4"/> sort of the white and dark is very <pause dur="0.3"/> strong <pause dur="0.2"/> in Italian fascist drawings <pause dur="0.6"/> now this is <pause dur="0.8"/> what the architect sees it looking at it <pause dur="1.2"/> now the other thing <pause dur="0.6"/> to

think of parallels with antiquity here <pause dur="0.7"/> is with <pause dur="0.7"/> the parallel with the Augustan sundial <pause dur="0.5"/> the Augustan sundial in Rome <pause dur="0.8"/> was <pause dur="0.3"/> made of an obelisk <pause dur="0.4"/> captured from Egypt <pause dur="0.2"/> brought back to Rome <pause dur="1.8"/> the <pause dur="0.8"/> obelisk itself was the pointer <pause dur="0.3"/> for the sundial <pause dur="0.8"/> now <pause dur="0.3"/> that structure <pause dur="0.3"/> is almost paralleled <pause dur="0.4"/> with this one <pause dur="0.6"/> 'cause it had the obelisk in the centre <pause dur="0.7"/> of this <pause dur="0.5"/> piazza <pause dur="0.8"/><kinesic desc="changes transparency" iterated="y" dur="5"/> which is <pause dur="8.7"/> which is called Piazzale di Impero or little piazza of Empire <pause dur="0.6"/> but <pause dur="0.2"/> on each of these blocks <pause dur="0.6"/> is recorded <pause dur="0.2"/> a date from the fascist age <pause dur="0.4"/> so <pause dur="0.4"/> whereas the Augustan sundial recorded things like <trunc>hi</trunc> Augustustus' horoscope <pause dur="0.6"/> in this case <pause dur="0.2"/> we're going to find <pause dur="0.6"/> put on here <pause dur="0.2"/> inscribed stones <pause dur="0.2"/> with <pause dur="0.2"/> significant dates from the modern state <pause dur="0.2"/> so <pause dur="0.2"/> the structure <pause dur="0.2"/> parallels <pause dur="0.2"/> the ancient sundial <pause dur="0.6"/> of Italy <pause dur="0.7"/> of Augustus <pause dur="0.6"/> but <pause dur="0.4"/> we have here <pause dur="0.5"/> the inscription of exact date rather than the pointer trying to point to them <pause dur="4.5"/><kinesic desc="changes slide" iterated="n"/> right so <pause dur="0.2"/> when you go there today <pause dur="0.6"/> and <pause dur="0.4"/> it's <pause dur="0.8"/> almost the same <pause dur="0.2"/> as it was then some of it's fallen apart <pause dur="0.4"/> and <pause dur="0.5"/> the blocks <pause dur="0.3"/> recording <pause dur="0.2"/> the various years of

the fascist state <pause dur="0.6"/> are <pause dur="0.4"/> graffitied over <pause dur="0.2"/> deliberately <pause dur="0.6"/> as a sort of anti-fascist <pause dur="0.5"/> concept <pause dur="0.7"/> now in terms of <pause dur="0.8"/> what we have here is <pause dur="0.2"/> we have a piazza <pause dur="0.3"/> the obelisk <pause dur="0.2"/> is this way on <pause dur="1.0"/> and as you walk to <pause dur="0.2"/> the football stadium <pause dur="0.3"/> you walk over <pause dur="0.3"/> these modern mosaics <pause dur="0.4"/> modern mosaics which make reference <pause dur="0.6"/> back to the past <pause dur="0.6"/> but also <pause dur="0.3"/> contain <pause dur="0.4"/> very obvious <pause dur="0.2"/> fasciaes <pause dur="0.4"/> and then as you go across them <pause dur="0.5"/> you see various images <pause dur="0.3"/> as you move <pause dur="0.3"/> towards the stadium <pause dur="3.1"/><kinesic desc="changes slide" iterated="n"/> for instance <pause dur="0.2"/> on one side <pause dur="1.5"/> let's go back <pause dur="1.7"/><kinesic desc="changes slide" iterated="n"/> should point it out that on this side <pause dur="0.4"/> we have <pause dur="0.3"/> images in the mosaics <pause dur="0.2"/> of modern Italy <pause dur="0.5"/> of nineteen-thirties Italy <pause dur="0.9"/> and on <pause dur="0.3"/> the other side over here <pause dur="0.3"/> you have Ancient Rome <pause dur="0.6"/> so <pause dur="0.5"/> we were talking about last time how you have this juxtaposition of past and present so <pause dur="0.3"/> on the left <pause dur="0.3"/> you have the past <pause dur="0.3"/> on the right <pause dur="0.2"/> you have the present so <pause dur="0.2"/> they're put next to each other <pause dur="0.4"/> as this technology of power <pause dur="3.2"/><kinesic desc="changes slide" iterated="n"/>

so we have obvious things like the Tiber <pause dur="0.3"/> the Tiber <pause dur="0.3"/> is generic <pause dur="0.2"/> because it's ancient and modern <pause dur="1.1"/> we also have <pause dur="1.3"/><kinesic desc="changes slide" iterated="n"/> on the other side <pause dur="1.1"/> the bull <pause dur="0.5"/> the symbol of Italy <pause dur="0.2"/> the idea of the whole of Italy so the Tiber in a way <pause dur="0.2"/> represents Rome <pause dur="0.4"/> whereas the bull <pause dur="0.3"/> will represent <pause dur="0.2"/> the whole of Italy <pause dur="4.2"/><kinesic desc="changes slide" iterated="n"/> and <pause dur="0.3"/> as you go up on the <pause dur="0.3"/> ancient side <pause dur="0.3"/> you find <pause dur="0.4"/> buildings such as the Theatre of Marcellus <pause dur="0.2"/> laid out in plan <pause dur="1.1"/> or <pause dur="0.2"/> some temples laid out in plan <pause dur="0.2"/> with their name put next to them <pause dur="0.9"/> then <pause dur="0.5"/> very clear <pause dur="0.3"/> mosaic idea then on the other side <pause dur="0.6"/><kinesic desc="changes slide" iterated="n"/> surprise surprise you have a plan <pause dur="0.2"/> of the Forum of Mussolini <pause dur="0.7"/> so <pause dur="0.3"/> again you have that juxtaposition between <pause dur="1.1"/><kinesic desc="changes slide" iterated="n"/> the ancient <pause dur="0.4"/> theatre the place of the games <pause dur="0.5"/> in terms of scenic <trunc>ga</trunc> games <pause dur="0.7"/> and then <pause dur="0.8"/><kinesic desc="changes slide" iterated="n"/> you have the modern one <pause dur="0.3"/> which <pause dur="0.4"/> you have <pause dur="0.6"/> various structures like <pause dur="0.4"/> the stadium <pause dur="0.8"/> the Olympic Stadium there <pause dur="0.3"/> and <pause dur="0.2"/> another sports stadium there so <pause dur="0.2"/> you have this constant juxtaposition <pause dur="0.4"/> even when <pause dur="0.2"/> there isn't antiquity actually there <pause dur="0.3"/> it's not present in any

form <pause dur="0.4"/> in the Forum Mussolini <pause dur="4.6"/><kinesic desc="changes slide" iterated="n"/> as you <pause dur="0.3"/> go through <pause dur="0.7"/> you also see <pause dur="1.0"/> the blocks with the inscriptions <pause dur="0.7"/> now this one <pause dur="0.3"/> is the first block that you would <pause dur="0.2"/> see in terms of the sequence <pause dur="0.6"/> the sequence begins <pause dur="0.5"/> on the twenty-fourth of May <pause dur="0.7"/> nineteen-<pause dur="0.3"/>fifteen <pause dur="0.2"/> Italy enters the First World War <pause dur="0.3"/> that is the first action <pause dur="0.5"/> which is recorded here <pause dur="0.4"/> the first action <pause dur="0.3"/> is <pause dur="0.4"/> militaristic <pause dur="0.2"/> from recent history <pause dur="2.0"/> then <pause dur="0.4"/> as you <pause dur="0.2"/> go past them <pause dur="0.8"/><kinesic desc="changes slide" iterated="n"/> you see other ones this one is <pause dur="0.3"/> the ninth of May <pause dur="1.3"/> nineteen-thirty-six <pause dur="0.2"/> the proclamation of empire <pause dur="0.2"/> there's one <pause dur="0.2"/> for nineteen-twenty-two <pause dur="0.3"/> the fascist march on Rome <pause dur="0.5"/> so <pause dur="0.4"/> this is a way <pause dur="0.3"/> of marking <pause dur="0.5"/> the important dates from the recent past <pause dur="0.4"/> but putting them in the context <pause dur="0.4"/> of something which looks quite antique the architect's <pause dur="0.3"/> deliberately quoting <pause dur="0.4"/> from antiquity <pause dur="1.3"/><kinesic desc="changes slide" iterated="n"/> and the last one <pause dur="0.4"/> which is <pause dur="1.1"/> something which is reappropriated <pause dur="0.3"/> is the twenty-fifth of July <pause dur="0.4"/> nineteen-forty-three <pause dur="0.2"/> the end of the <pause dur="0.7"/> # fascist regime <pause dur="0.4"/> and then after that <pause dur="0.3"/> there are a series <pause dur="0.2"/> of blank <pause dur="0.5"/> blocks <pause dur="0.9"/> and <pause dur="0.6"/> it's written under here <pause dur="0.2"/> a <pause dur="0.2"/> little graffiti <pause dur="0.5"/>

which says instead it's continued so again its political commentary can be made on the monuments themselves <pause dur="0.2"/> and be reappropriated <pause dur="3.6"/><kinesic desc="changes slide" iterated="n"/> at the end <pause dur="0.5"/> of <pause dur="0.4"/> the piazza <pause dur="0.7"/> you <pause dur="0.2"/> find <pause dur="0.9"/> this fountain structure <pause dur="0.3"/> this is called <pause dur="0.6"/> the spherical fountain or the Fontana <sic corr="della">dei</sic> Sfera <pause dur="0.6"/> which <pause dur="0.3"/> is made out <pause dur="0.2"/> of another block <pause dur="0.3"/> of <pause dur="0.3"/> Carrara marble <pause dur="0.6"/> and <pause dur="0.2"/> to represent the Earth <pause dur="0.2"/> very much so like you see <pause dur="0.4"/> winged victories from antiquity <pause dur="0.2"/> standing on a globe <pause dur="0.5"/> so <pause dur="0.2"/> a reference to the idea <pause dur="0.2"/> of the whole empire <pause dur="1.6"/> around it <pause dur="0.2"/> we have <pause dur="0.8"/> fish mosaics <pause dur="0.4"/> mosaics <pause dur="0.3"/> which are very similar to those you find <pause dur="0.2"/> in Roman bathhouses <pause dur="0.4"/> so <pause dur="0.2"/> you could actually go to the monuments of Rome to see bathhouses <pause dur="0.4"/> and <pause dur="0.4"/> be here <pause dur="0.3"/> and you'd see <pause dur="0.4"/> modern ones <pause dur="0.5"/> made of slightly <pause dur="0.2"/> stylized fashion <pause dur="0.2"/> stylized differently <pause dur="4.6"/><kinesic desc="changes slide" iterated="n"/> it's <gap reason="inaudible" extent="1 sec"/><pause dur="0.7"/> the other thing <pause dur="0.6"/> you find <pause dur="0.3"/> in the mosaics as you get closer to the athletics stadiums <pause dur="0.7"/> are <pause dur="0.3"/> emphasis <pause dur="0.3"/> on <pause dur="0.3"/> what goes on here <pause dur="0.8"/> and <pause dur="0.2"/> you find <pause dur="0.2"/> here we have two boxers <pause dur="0.3"/> but <pause dur="0.5"/> they're placed <pause dur="0.8"/> in a <trunc>di</trunc> sort of rather antique <pause dur="0.2"/> form <pause dur="0.4"/> in terms of creating <pause dur="0.3"/> the bit of tree behind them

as though it's some form of pastoral scene <pause dur="2.7"/><kinesic desc="changes slide" iterated="n"/> and you find other ones which <pause dur="0.3"/> some of them <pause dur="0.7"/> here <pause dur="0.2"/> we have somebody with a lionskin <pause dur="0.3"/> club <pause dur="0.3"/> looks very like Hercules so <pause dur="0.6"/> whoops <pause dur="0.3"/> so you can have <pause dur="0.5"/> modern ones <pause dur="0.6"/> and then you can have <pause dur="0.8"/><kinesic desc="changes slide" iterated="n"/> overtly <pause dur="0.4"/> antique references as well <pause dur="4.5"/> and you have a strutting <pause dur="0.6"/> very modernistic eagle <pause dur="0.2"/> running over the top <pause dur="0.2"/> again we saw <trunc>eag</trunc> the importance of eagles <pause dur="0.2"/> last time <pause dur="3.4"/> now <pause dur="0.8"/> the <pause dur="0.9"/> spherical fountain <pause dur="1.5"/> has a reference back <pause dur="0.2"/> to <pause dur="0.6"/> a small shrine <pause dur="0.7"/> of the goddess <pause dur="4.0"/><kinesic desc="changes slide" iterated="n"/> we don't have any <pause dur="0.2"/> yes we do <pause dur="10.8"/><kinesic desc="writes on board" iterated="y" dur="4"/> a small fountain near the <pause dur="0.3"/> ancient forum <pause dur="1.2"/> is of <pause dur="1.9"/> where is it <pause dur="0.5"/> must be the other one <pause dur="1.3"/> Juturna J-U-T-U-R-<pause dur="0.3"/>N-A <pause dur="0.3"/> the Lacus Juturnae the fountain of <pause dur="0.4"/> Juturna <pause dur="0.4"/> is in the Forum at Rome <pause dur="0.2"/> so <pause dur="0.3"/> similarly in the Forum Mussolini <pause dur="0.2"/> we found <pause dur="0.2"/> a fountain structure as well <pause dur="0.5"/> again <pause dur="0.2"/> another reference back <pause dur="0.4"/> to the idea of a forum in antiquity <pause dur="0.3"/> being made in this very modern <pause dur="0.4"/> sports stadium area <pause dur="4.8"/> right the next <pause dur="0.9"/> building we need to look at <pause dur="0.7"/> is <pause dur="0.7"/> the Academy <pause dur="0.2"/> of Physical Education <pause dur="2.4"/> Academy of Physical Education <pause dur="0.8"/> <gap reason="inaudible" extent="1 sec"/> stay

on <pause dur="1.2"/><gap reason="inaudible" extent="1 sec"/><pause dur="6.5"/> the <pause dur="0.8"/> Academy of Physical Education <pause dur="0.2"/><kinesic desc="changes slide" iterated="n"/> is one of those <pause dur="0.9"/> structures <pause dur="1.3"/><kinesic desc="changes slide" iterated="n"/> right <pause dur="0.4"/> antiquity <pause dur="0.2"/> also has mosaics <pause dur="0.3"/> and one of the boasts of <pause dur="0.2"/> these mosaics in the Forum <pause dur="0.3"/> of Mussolini <pause dur="0.4"/> is they are bigger <pause dur="0.2"/> than any mosaic from antiquity <pause dur="0.4"/> so it's almost that idea of remaking antiquity <pause dur="0.3"/> but <pause dur="0.3"/> bigger again <pause dur="2.4"/><kinesic desc="changes slide" iterated="n"/> and you have words such as <pause dur="0.4"/> # <pause dur="0.4"/> duce for us again key things <pause dur="0.2"/> key political messages to make the mosaics more didactic <pause dur="0.4"/> in a way <pause dur="0.3"/> that antiquity never had them <pause dur="0.2"/> so <pause dur="0.3"/> a way of <pause dur="0.4"/> putting Mussolini <pause dur="0.4"/> physically <pause dur="0.6"/> into the mosaics themselves <pause dur="0.2"/> don't have to do a picture of him <pause dur="0.3"/> you just use the word dux repeatedly <pause dur="0.3"/> and the word Mussolini <pause dur="2.4"/><kinesic desc="changes slide" iterated="n"/> right so <pause dur="0.9"/> we've looked <pause dur="1.0"/> so far <pause dur="0.4"/> at this area <pause dur="0.4"/> the entrance area <pause dur="0.3"/> if you were coming <pause dur="0.5"/> to <pause dur="0.2"/> see athletics <pause dur="0.5"/> or if you were going to be there <pause dur="0.4"/> at the planned nineteen-forty-four <pause dur="0.4"/> Olympics <pause dur="1.5"/> the <pause dur="1.5"/> athletics area <pause dur="0.6"/> this is the Academy for Athletics <pause dur="0.6"/> and behind it <pause dur="0.5"/> is what's known <pause dur="0.6"/> as <pause dur="0.7"/> the Stadium <pause dur="0.6"/> of Marble <pause dur="1.4"/> and on <pause dur="0.3"/> the other side <pause dur="0.6"/> this very low flat <pause dur="0.4"/> Olympic Stadium <pause dur="0.5"/> in its original form <pause dur="0.4"/> so we want

to look at <pause dur="0.4"/> this one <pause dur="0.4"/> this one <pause dur="0.6"/> and the last one <pause dur="4.1"/><kinesic desc="changes slide" iterated="n"/> now <pause dur="0.7"/> Academy of Physical Education <pause dur="0.9"/> is <pause dur="0.2"/> built in a very modernistic style <pause dur="0.5"/> it looks <pause dur="0.3"/> different from flat buildings <pause dur="0.2"/> if you look at its <pause dur="1.2"/><kinesic desc="changes slide" iterated="n"/> overall plan <pause dur="0.4"/> it's built <pause dur="1.0"/> in <pause dur="0.2"/> a very peculiar <pause dur="0.3"/> modernistic fashion <pause dur="0.2"/> again we're talking about the futurism <pause dur="0.3"/> the rejection of everything to do with the past <pause dur="0.5"/> this building <pause dur="0.4"/> would add up to the same thing <pause dur="2.5"/><kinesic desc="changes slide" iterated="n"/> its structure <pause dur="0.3"/> not surprisingly <pause dur="0.3"/> you can spot the fasciaes here <pause dur="0.3"/> but it's full <pause dur="0.2"/> of statues <pause dur="0.4"/> statues <pause dur="0.4"/> crop up <pause dur="0.3"/> time and time again through these buildings <pause dur="1.6"/><kinesic desc="changes slide" iterated="n"/> and <pause dur="0.3"/> at the back <pause dur="0.6"/> in <pause dur="0.4"/> the stadium <pause dur="2.2"/> Stadio dei Marmi <pause dur="0.4"/> Stadium of Marbles <pause dur="0.5"/> we find <pause dur="0.7"/> eighty statues <pause dur="0.2"/> have been placed <pause dur="0.2"/> around the seating area <pause dur="0.7"/> so if you're watching <pause dur="0.6"/> the athletics <pause dur="0.7"/> or <pause dur="0.2"/> the events which are done here in terms of <pause dur="0.3"/> political events as well <pause dur="1.7"/> the thing which is looking over your shoulder <pause dur="0.2"/> are these four metre high statues <pause dur="0.9"/> they're all of males <pause dur="0.4"/> they're all <pause dur="0.2"/> in <pause dur="0.3"/> vaguely heroic forms <pause dur="0.8"/> now the statues themselves <pause dur="1.7"/> are donated <pause dur="0.2"/> by individual cities of Italy <pause dur="0.6"/> the statues are given <pause dur="0.5"/> they're <pause dur="0.3"/> individual cities <pause dur="0.2"/> commission <pause dur="0.2"/> the statues there's quite a few <pause dur="0.3"/> on your handout <pause dur="1.4"/>

the <pause dur="1.0"/> donation <pause dur="0.4"/> all the specifications are <pause dur="0.2"/> that they should be four metres high <pause dur="0.4"/> they're all slightly different they're not all done by the same artist <pause dur="1.2"/> and <pause dur="0.9"/><kinesic desc="changes slide" iterated="n"/> give you an idea of one's <pause dur="0.2"/> this one is outside <pause dur="0.5"/> the stadium <pause dur="0.7"/> which <pause dur="1.2"/> shows huge <pause dur="0.2"/> muscular <pause dur="0.4"/> figures again <pause dur="0.3"/> this emphasis on the body <pause dur="0.7"/> and <pause dur="0.5"/> one of the things which Mussolini does regularly <pause dur="0.2"/> if he goes to visit people <pause dur="0.4"/> in the campaign for wheat <pause dur="0.3"/> which he <pause dur="0.3"/> the fascist stage orchestrates <pause dur="0.3"/> Mussolini <pause dur="0.3"/> takes off his shirt and starts helping to cut the wheat <pause dur="0.3"/> or he goes to the beach he takes off his shirt and goes in the sea <pause dur="0.4"/> so there's a cult <pause dur="0.3"/> of the body in Italy <pause dur="0.3"/> coming out here <pause dur="0.6"/> cult which can be <pause dur="0.4"/> produced through <pause dur="0.4"/> sport organizations or <pause dur="0.4"/> things like the O-N-B in particular <pause dur="0.8"/> and they're organizing it for adults but they're also organizing it for children to train children <pause dur="0.3"/> in <pause dur="0.5"/> the ways of <pause dur="0.2"/> physical exercise <pause dur="0.4"/> so i think <pause dur="0.3"/> very <pause dur="0.3"/> strong emphasis on being <pause dur="0.2"/>

physically fit <pause dur="0.3"/> whether you are young <pause dur="0.2"/> or old <pause dur="2.2"/><kinesic desc="changes slide" iterated="n"/> now the statues themselves <pause dur="0.7"/> once you're inside <pause dur="0.4"/> they all <pause dur="0.2"/> repeat <pause dur="0.2"/> the similar theme of body perfection <pause dur="0.4"/> and <pause dur="0.3"/> the muscular body <pause dur="3.3"/><kinesic desc="changes slide" iterated="n"/> and they <pause dur="0.2"/> become vaguely heroic they're not like ancient statues <pause dur="0.3"/> key thing is <pause dur="0.3"/> they look like <pause dur="0.7"/> because they're naked <pause dur="0.3"/> they look like ancient statues <pause dur="0.4"/> but if you actually look at their features <pause dur="0.2"/> their far more modernistic style <pause dur="0.6"/> the style is quite different from let's say <pause dur="0.3"/> the Prima Porta Augustus <pause dur="0.6"/> Prima Porta Augustus <pause dur="0.3"/> looks like <pause dur="0.4"/> Augustan statues <pause dur="0.6"/> look <pause dur="0.2"/> very thin <pause dur="0.2"/> very effeminate in a way compared with this <pause dur="0.3"/> so <pause dur="0.2"/> the emphasis here <pause dur="0.2"/> is on the real man <pause dur="0.3"/> whereas <pause dur="0.6"/> <trunc>st</trunc> statues of things like Apollo <pause dur="0.2"/> don't add up to that <pause dur="0.7"/> concept <trunc>i</trunc> within Italy of the real man <pause dur="3.3"/><kinesic desc="changes slide" iterated="n"/> the other feature of this stadium <pause dur="0.3"/> is its <pause dur="0.3"/> lowness it's very low in the ground <pause dur="0.5"/> now the stadiums all the stadiums were quite flat they were dug out of the ground <pause dur="0.9"/> and <pause dur="0.7"/> the Olympic Stadium you just have to block it out but again <pause dur="0.2"/> that would be a very low stadium <pause dur="1.2"/> so one of

the things <pause dur="0.2"/> you're going to find <pause dur="0.2"/> is <pause dur="0.5"/> there are sculptural points <pause dur="0.2"/> which stick up <pause dur="1.1"/> 'cause you tend <trunc>t</trunc> the statues stick up above <pause dur="0.9"/> the <pause dur="0.2"/> drop <pause dur="0.2"/> into the stadium itself <pause dur="5.5"/> now <pause dur="0.4"/> the <pause dur="1.3"/> stadium structure in terms of <pause dur="0.6"/> the organization <pause dur="0.2"/> of the stadium how you go into it <pause dur="0.9"/> also has parallels from the Colosseum <pause dur="1.0"/> because <pause dur="0.9"/> the <trunc>spec</trunc> <pause dur="0.2"/> the spectators <pause dur="0.2"/> come in <pause dur="0.2"/> this way <pause dur="0.3"/> having seen things like the spherical fountain mosaics et cetera <pause dur="0.3"/> they come in <pause dur="0.2"/> from this angle <pause dur="0.7"/> the <pause dur="0.4"/> people involved in the actual sport <pause dur="0.4"/> come in <pause dur="0.6"/> down <pause dur="0.3"/> this ramp <pause dur="0.5"/> into the what you could call the arena area there <pause dur="1.7"/> and this structure is paralleled in that of the Colosseum <pause dur="0.2"/> it's paralleled in that of the Circus Maximus <pause dur="0.2"/> from antiquity as well <pause dur="0.2"/> so again <pause dur="0.4"/> we can play this game of snap where there's something modern <pause dur="0.3"/> something antique <pause dur="0.4"/> very deliberate <pause dur="0.2"/> organization <pause dur="2.5"/><kinesic desc="changes slide" iterated="n"/> the <pause dur="0.6"/> and not surprisingly <pause dur="0.3"/> in <pause dur="0.3"/> the athletics area <pause dur="0.3"/> you have <pause dur="0.3"/> mosaics of people jumping <pause dur="0.5"/> running <pause dur="0.2"/> et cetera <pause dur="0.4"/> it's all <pause dur="0.3"/> still there today <pause dur="0.4"/> and it would have been <pause dur="0.2"/> # <pause dur="0.3"/> pristine <pause dur="0.2"/> at the time <pause dur="1.9"/><kinesic desc="changes slide" iterated="n"/> and you

have things like equestrians <pause dur="0.6"/> and whatever <pause dur="1.0"/> this person could be doing presumably <pause dur="0.2"/> some form of wrestling <pause dur="0.5"/> but again <pause dur="0.3"/> that cult of the very big <pause dur="0.2"/> bulky body <pause dur="0.2"/> very muscular <pause dur="0.5"/> body is there <pause dur="0.6"/><kinesic desc="changes slide" iterated="n"/> even <pause dur="0.8"/> within <pause dur="0.8"/> things like the sprinters again there's this emphasis <pause dur="0.2"/> on <pause dur="0.3"/> the very <pause dur="0.3"/> sort of muscle toned <pause dur="0.5"/> male <pause dur="1.7"/><kinesic desc="changes slide" iterated="n"/> and <pause dur="0.3"/> one of the things is there are no <pause dur="0.2"/> female images <pause dur="0.3"/> on this <pause dur="0.3"/> at all <pause dur="0.3"/> whatsoever <pause dur="0.5"/> it's as though <pause dur="0.4"/> female sport just didn't <pause dur="0.3"/> exist <pause dur="0.8"/> and you see up here <pause dur="0.3"/> in the inscription <pause dur="0.4"/> is <pause dur="0.2"/> the inscription of O-N-B <pause dur="0.2"/> the organizers of the whole thing <pause dur="3.3"/><kinesic desc="changes slide" iterated="n"/> now <pause dur="0.4"/> that's <pause dur="1.3"/> one aspect of it <pause dur="1.2"/> terms of the sport aspect <pause dur="0.5"/> if you look at the middle photo here <pause dur="0.6"/> which has just slipped out of focus <pause dur="5.4"/> the <pause dur="0.7"/> here <pause dur="0.2"/> you see a military parade <pause dur="0.5"/> in <pause dur="0.2"/> that Stadium <pause dur="0.3"/> of Marbles <pause dur="0.2"/> with the statues <pause dur="0.4"/> around here <pause dur="1.0"/> another feature <pause dur="0.5"/> of <pause dur="1.9"/> the Forum of Mussolini <pause dur="0.4"/> is <pause dur="0.3"/> the idea <pause dur="0.2"/> of politicalization <pause dur="0.6"/> politicalization <pause dur="0.7"/> in terms of <pause dur="0.4"/> having <pause dur="0.2"/> great events occur here <pause dur="0.9"/> it's one of the things which <pause dur="0.4"/> children <pause dur="0.3"/> from all over Italy <pause dur="0.3"/> were sent to Rome <pause dur="0.3"/> to stay <pause dur="0.7"/> in <pause dur="0.4"/> the Forum <pause dur="0.2"/> of Mussolini <pause dur="1.7"/>

for a number of weeks <pause dur="0.8"/> and one of the things <pause dur="0.2"/> they can see are the mass rallies of things like soldiers <pause dur="0.5"/> but another thing is the actual doing <pause dur="0.8"/> and <pause dur="0.2"/> one of the things they do is they grow wheat <pause dur="0.2"/> next to the Forum <pause dur="0.2"/> for children to come and cut <pause dur="0.3"/> again there's this thing in <pause dur="0.5"/> fascist Italy of <pause dur="0.3"/> the campaign for wheat <pause dur="0.4"/> but <pause dur="0.6"/> it's a very ideological campaign to grow more wheat <pause dur="0.9"/> and <pause dur="0.4"/> to bring children into the idea of growing more wheat <pause dur="0.2"/> they were brought here to practise sport but they also <pause dur="0.3"/> went out <pause dur="0.3"/> to cut the wheat in the summer as well <pause dur="0.3"/> so <pause dur="0.3"/> there's a double purpose here <pause dur="0.7"/> in terms of ideology <pause dur="1.3"/> the <pause dur="1.0"/> building in the background <pause dur="2.1"/> is <pause dur="0.7"/> a building which has now become <pause dur="0.3"/> the Italian Foreign Ministry <pause dur="0.7"/> this is <pause dur="0.2"/> the Palace of the Fascists <pause dur="0.2"/> the Palace of the Lictors <pause dur="0.8"/> and <pause dur="1.0"/> this structure <pause dur="0.6"/> is set up <pause dur="0.5"/> as the new <pause dur="0.4"/> headquarters of fascism in Rome <pause dur="0.2"/> of the Fascist Party <pause dur="0.2"/> not of the government but of the Fascist Party <pause dur="0.3"/> there's a difference <pause dur="0.2"/> to be made there <pause dur="1.2"/> and <pause dur="0.5"/> outside of it <pause dur="0.8"/> in this square here <pause dur="0.5"/> was <pause dur="0.2"/> a huge piazza area <pause dur="0.4"/> piazza area <pause dur="0.3"/> which

could contain four-hundred-thousand people <pause dur="0.7"/> sort of very like Tiananmen Square in China <pause dur="0.5"/><kinesic desc="changes slide" iterated="n"/> similar <pause dur="0.6"/> type of structure <pause dur="0.7"/> and in <pause dur="1.1"/> architect's drawing <pause dur="2.3"/> not surprisingly <pause dur="0.8"/> you have <pause dur="0.2"/> things like an obelisk <pause dur="0.3"/> horses here <pause dur="0.3"/> ideas about Castor and Pollux <pause dur="0.2"/> put two horses together <pause dur="0.6"/> in <pause dur="0.3"/> if you've imbued everybody with the ideology of fascism <pause dur="0.5"/> people automatically think of Castor and Pollux <pause dur="1.2"/> and <pause dur="0.2"/> Castor and Pollux of course helped the Romans in a battle <pause dur="0.3"/> so <pause dur="0.2"/> it's those twins again <pause dur="0.2"/> Roman history <pause dur="0.3"/> made large by association <pause dur="4.1"/><kinesic desc="changes slide" iterated="n"/> and <pause dur="0.4"/> the key <pause dur="0.4"/> element here <pause dur="0.3"/> is if you are <pause dur="0.5"/> watching <pause dur="0.2"/> a spectacle here or taking part in the spectacle <pause dur="0.5"/> you can always see <pause dur="0.2"/> the fascist headquarters <pause dur="0.3"/> this idea of visibility <pause dur="0.4"/> is very important what other monuments you can see <pause dur="0.5"/> so <pause dur="0.9"/> there is <pause dur="0.2"/> the political headquarters <pause dur="0.2"/> is put next to <pause dur="0.2"/> the sporting headquarters of Italy <pause dur="0.4"/> in terms of <pause dur="0.3"/> the Fascist Party <pause dur="5.0"/><kinesic desc="changes slide" iterated="n"/>

now <pause dur="2.2"/> to look <pause dur="0.3"/> briefly <pause dur="0.3"/><kinesic desc="changes transparency" iterated="y" dur="5"/> at the Olympic Stadium <pause dur="0.4"/> because <pause dur="1.1"/> <unclear>it's a bit</unclear> sport <pause dur="0.9"/> fanatics <pause dur="3.1"/> in terms of <pause dur="0.4"/> what it looks like <pause dur="0.7"/> today it's been <pause dur="0.9"/> had another stadium put on to increase the seating capacity <pause dur="0.7"/> originally <pause dur="0.6"/> it was <pause dur="0.7"/> a <trunc>s</trunc> a stadium <pause dur="0.8"/> this stadium still lies underneath it if you go <pause dur="0.4"/> to this # to Italian football match today you come out of one of these things <pause dur="0.2"/> and then <pause dur="0.3"/> there's about that much more stadium on top of it <pause dur="1.2"/> now the thing <pause dur="0.3"/> with this stadium is <pause dur="0.7"/> it seats fifty-five-thousand people <pause dur="1.1"/> is the design it's a design it was going to be called the Stadium for Fifty-five-thousand people <pause dur="2.0"/> it is <pause dur="4.7"/> now that number in itself is the same number <pause dur="0.3"/> as it's estimated <pause dur="0.2"/> was <pause dur="0.2"/> as the number of people who'd get in the Colosseum <pause dur="0.5"/> so <pause dur="0.4"/> if you think about the forums of <pause dur="0.7"/> of Ancient Rome <pause dur="0.2"/> next to the Colosseum <pause dur="0.5"/> here <pause dur="0.4"/> we have <pause dur="0.9"/> the forums <pause dur="0.4"/> of modern Rome <pause dur="0.3"/> next to <pause dur="0.5"/> the stadium the Olympic Stadium <pause dur="1.0"/> the <pause dur="0.4"/> structure of it is again seating <pause dur="0.2"/> a low surround <pause dur="0.3"/> but <pause dur="0.2"/> on

top of it <pause dur="0.2"/> are these huge eagles <pause dur="0.5"/> now the eagles also contained floodlights <pause dur="0.5"/> again so there's again there's technology here <pause dur="0.6"/> one of the things which <pause dur="0.6"/> you see is that use of technology modern technology <pause dur="0.4"/> but <pause dur="0.3"/> you turn the floodlights into <pause dur="0.3"/> eagles <pause dur="0.2"/> to make them look classical <pause dur="0.6"/> so <pause dur="0.2"/> there's a double usage here something very modern <pause dur="0.2"/> but it has a reference back to antiquity <pause dur="4.7"/><kinesic desc="changes slide" iterated="n"/> and <pause dur="2.5"/> the other feature <pause dur="0.4"/> of it a series of flagpoles <pause dur="0.5"/> this is used for Hitler's <pause dur="0.2"/> visit to Rome <pause dur="0.4"/> in the <trunc>ninet</trunc> nineteen-thirty-eight <pause dur="0.7"/> and <pause dur="0.2"/> for the huge <pause dur="0.3"/> displays <pause dur="0.3"/> of government of sort of government popularity <pause dur="1.1"/> what are called sometimes the oceanic displays like it's a ocean of people <pause dur="0.2"/> in front of it <pause dur="2.8"/><kinesic desc="changes slide" iterated="n"/> right so <pause dur="0.3"/> if we're going to think about <pause dur="1.8"/><kinesic desc="changes transparency" iterated="y" dur="13"/> the effect <pause dur="0.7"/> of all this <pause dur="0.7"/> in terms of Rome <pause dur="0.6"/> and the effect <pause dur="0.5"/> of what the intention is <pause dur="1.3"/> one of the things <pause dur="1.0"/> we talked about <pause dur="1.2"/> very beginning today <pause dur="0.7"/> was <pause dur="0.8"/> the idea <pause dur="0.5"/> of a triumphal route <pause dur="1.0"/> the idea of <pause dur="0.7"/> the Forum of Mussolini <pause dur="0.2"/> as being the entry point into the city <pause dur="0.8"/> Forum of Mussolini <pause dur="0.3"/> being <pause dur="0.2"/> where people came into

the city <pause dur="1.9"/> and <pause dur="0.6"/> the concept is to create a triumphal route from the Foro Mussolini <pause dur="0.4"/> you go across the river <pause dur="0.5"/> you go into <pause dur="0.2"/> through the city walls of Rome <pause dur="0.2"/> the original third century A-D walls of Rome <pause dur="0.4"/> you go down <pause dur="0.5"/> the road to the <pause dur="0.4"/> piazza <pause dur="0.5"/> with <pause dur="0.2"/> Augustus' mausoleum in which we were talking about last time <pause dur="1.2"/> you then <pause dur="0.2"/> move on <pause dur="0.2"/> to the Victor Emmanuel monument <pause dur="0.5"/> in the centre of Rome <pause dur="0.3"/> and you end at the Colosseum <pause dur="0.8"/> now <pause dur="0.3"/> that route <pause dur="0.7"/> is <pause dur="0.2"/> so strongly <pause dur="0.2"/> created in terms of traffic route <pause dur="0.4"/> that <pause dur="0.2"/> today after <pause dur="0.4"/> a great victory by Roma or Italy or Lazio <pause dur="0.3"/> in the <pause dur="0.6"/> # the football stadium <pause dur="0.5"/> people go <pause dur="0.2"/> straight down that route <pause dur="0.2"/> it's exactly the same route into Rome <pause dur="0.5"/> # to celebrate at the Colosseum <pause dur="0.4"/> and in front of the Victor Emmanuel monument <pause dur="0.5"/> so <pause dur="0.3"/> what's being created <pause dur="0.4"/> is not just the Forum of Mussolini <pause dur="0.5"/> the Forum of Mussolini is being created to connect into <pause dur="0.4"/> the rest of the architecture of Rome <pause dur="0.6"/> it's going to become <pause dur="0.2"/> an important point <pause dur="0.4"/> within the architecture of Rome <pause dur="3.5"/><kinesic desc="changes transparency" iterated="y" dur="17"/> now <pause dur="2.5"/> so <pause dur="0.9"/> one <pause dur="0.9"/> key thing <pause dur="0.7"/> is <pause dur="0.2"/> to link <pause dur="1.2"/> the celebration <pause dur="0.8"/> of

things like <pause dur="0.5"/> the sport <pause dur="1.7"/> which <pause dur="0.2"/> takes place <pause dur="0.6"/> in these low buildings <pause dur="0.3"/> with <pause dur="0.4"/> the vision of the statues <pause dur="0.3"/> around in the Stadium of Marble <pause dur="1.4"/> and <pause dur="0.8"/><kinesic desc="changes transparency" iterated="y" dur="6"/> at the same time <pause dur="1.6"/> within the stucture <pause dur="1.8"/> you have the technology of floodlights <pause dur="0.4"/> this is <pause dur="0.2"/> opening of the Olympic Games stuff <pause dur="0.4"/> the style <pause dur="0.4"/> of the nineteen-thirties i think we all know <pause dur="0.5"/> about the <trunc>sor</trunc> opening of Olympic Games seem to be completely over the top <pause dur="0.3"/> events of choreography <pause dur="0.4"/> but <pause dur="0.8"/> this also happened in the nineteen-thirties <pause dur="0.3"/> and would be lit up at night again that use of technology to use the stadium at night's there <pause dur="0.6"/> the other thing <pause dur="0.3"/> as you can see from this <pause dur="0.4"/> picture which is the football stadium <pause dur="0.5"/> you can always see <pause dur="0.3"/> the Palace of the Fascists nearby <pause dur="0.5"/> it creates that link <pause dur="0.4"/> with <pause dur="0.6"/> the Fascist Party <pause dur="0.9"/> but the other thing <pause dur="1.4"/><kinesic desc="changes transparency" iterated="y" dur="5"/> which is <pause dur="0.8"/> nearly always visible <pause dur="0.5"/> from anywhere in the original stadium <pause dur="0.5"/> is the Obelisk of Mussolini <pause dur="0.2"/> so <pause dur="0.2"/> Mussolini <pause dur="0.5"/> is there if <pause dur="0.3"/> not present at the opening of these events <pause dur="0.5"/> is present <pause dur="0.6"/> by simply seeing <pause dur="0.2"/> the enormous obelisk which has been

reported in the press <pause dur="0.3"/> so successfully <pause dur="1.3"/> and <pause dur="0.7"/> typically <pause dur="0.2"/> people stand <pause dur="0.2"/> in these arenas so you can get lots of people in there's none of this <pause dur="0.2"/> seating <pause dur="0.6"/> problem which is the current <pause dur="0.3"/> football stadium <pause dur="0.3"/> reduces the number of people in there <pause dur="3.8"/><kinesic desc="changes transparency" iterated="y" dur="4"/> the other key thing <pause dur="1.3"/> to think about <pause dur="0.3"/> although <pause dur="1.0"/> a lot of the artistic style <pause dur="1.0"/> is has a reference back to antiquity <pause dur="0.6"/> the way it's drawn <pause dur="0.6"/> and the way it's represented <pause dur="0.5"/> is linking in to <pause dur="0.9"/> # <pause dur="0.5"/> Italy's modern artistic movement <pause dur="0.5"/> which <pause dur="0.2"/> has a particular emphasis on the body <pause dur="0.6"/> emphasis on the body and those chunky sculptures people are making <pause dur="0.4"/> a lot of sculptures out of <pause dur="0.6"/> of <pause dur="0.3"/> things like peasantry <pause dur="0.2"/> in the nineteen-thirties <pause dur="0.3"/> there's a <pause dur="0.4"/> you go to <pause dur="0.4"/> Rome's modern art gallery <pause dur="0.2"/> you'll see <pause dur="0.4"/> a lot of <pause dur="0.5"/> very very chunky <pause dur="0.2"/> these chunky sculptures can also be found in art galleries <pause dur="0.2"/> as well as <pause dur="0.5"/> in the stadium itself <pause dur="2.1"/> so in terms of themes from antiquity <pause dur="0.4"/> what are we seeing <pause dur="1.9"/> the key theme <pause dur="0.3"/> of <pause dur="0.2"/> the Forum of <pause dur="0.4"/> Mussolini <pause dur="2.4"/><kinesic desc="changes slide" iterated="n"/> sure you can go backwards <pause dur="1.6"/> is the idea <pause dur="0.7"/> that <pause dur="0.6"/> it links in <pause dur="0.4"/> with <pause dur="0.2"/> the Forums of

Augustus <pause dur="0.2"/> Trajan <pause dur="0.2"/> Nerva <pause dur="0.2"/> Julius Caesar <pause dur="1.7"/> and <pause dur="0.2"/> it seemed to be <pause dur="0.2"/> bigger than them <pause dur="0.3"/> like the mosaics are larger than those of antiquity <pause dur="0.3"/> the piece of Carrara marble cut for that obelisk is bigger than any ever <pause dur="0.5"/> so <pause dur="0.3"/> bigger <pause dur="0.2"/> than any ever is important <pause dur="1.6"/> so there's comparison <pause dur="0.2"/> but there's <pause dur="0.2"/> surpassing antiquity <pause dur="0.2"/> to create the new state of Italy <pause dur="0.2"/> <trunc>ver</trunc> sorry <pause dur="0.2"/> to create that new idea of civilization <pause dur="0.3"/> we always find with <pause dur="0.7"/> people who start using classical antiquity <pause dur="0.3"/> they're always creating something new <pause dur="0.6"/> and <pause dur="0.3"/> classical antiquity is almost <pause dur="0.2"/> the reference point <pause dur="0.3"/> which it's going to be better than <pause dur="0.2"/> that brave <pause dur="0.3"/> new world idea <pause dur="0.2"/> sort of modern utopia <pause dur="1.8"/> the other thing <pause dur="1.3"/> to think about is there's reference back to antiquity <pause dur="0.2"/> via the seating capacity <pause dur="0.3"/> with things like this stadium <pause dur="0.6"/> it's # automatic <pause dur="0.3"/> why is it called the Stadium of Fifty-five-thousand <pause dur="0.2"/> it's because the Colosseum <pause dur="0.2"/> held the same number <pause dur="0.3"/> there's that reference back to antiquity <pause dur="0.6"/> you can also see <pause dur="0.4"/> that <pause dur="0.2"/> this structure <pause dur="0.3"/> is the beginning <pause dur="0.3"/> of the triumphal

route into Rome <pause dur="0.2"/> whereas the Colosseum is the end <pause dur="0.2"/> so you begin with the modern world <pause dur="0.3"/> and you end with antiquity <pause dur="3.1"/> so <pause dur="0.2"/> a new <pause dur="0.2"/> triumphal route <pause dur="0.2"/> into Rome is being created <pause dur="0.2"/> by this new structure <pause dur="2.0"/> the other link <pause dur="0.3"/> is to empire <pause dur="0.4"/> and to always think of the dates the inauguration dates <pause dur="0.2"/> you keep that nineteen-thirty-two <pause dur="0.3"/> is when <pause dur="0.7"/> the obelisk <pause dur="0.4"/> the Stadium of Marbles <pause dur="0.3"/> and <pause dur="0.3"/> the football stadium <pause dur="0.2"/> were all completed inaugurated by Mussolini <pause dur="0.9"/> nineteen-thirty-seven <pause dur="0.6"/> the inauguration of <pause dur="0.4"/> the Imperial Square <pause dur="0.3"/> with that round fountain in it <pause dur="0.3"/> is the next stage so <pause dur="0.2"/> those two dates <pause dur="0.2"/> incredibly important <pause dur="0.8"/> the other thing <pause dur="0.2"/> to link in terms of empire <pause dur="0.4"/> is the cult of the body <pause dur="0.3"/> the idea of youth <pause dur="0.6"/> and <pause dur="0.6"/> in particular <pause dur="0.3"/> the fact that

you can always see <pause dur="0.4"/> images of empire wherever you go in this building <pause dur="0.5"/> you see images <pause dur="0.4"/> of things like the eagles holding the floodlights <pause dur="0.3"/> you see <pause dur="0.8"/> Mussolini <pause dur="0.3"/> placed onto the architecture <pause dur="0.5"/> so in terms of architectural setting <pause dur="0.7"/> the architectural setting creates the ambience <pause dur="0.6"/> of <pause dur="0.3"/> a certain type of thinking about <pause dur="0.4"/> the Italian state certain type of thinking which goes back <pause dur="0.3"/> to the ancient world <pause dur="0.2"/> but also looks forward <pause dur="0.5"/> to a modern future <pause dur="0.3"/> which will surpass <pause dur="0.2"/> that of the ancient world <pause dur="0.6"/> right <pause dur="0.2"/> it's ten to so it's lunchtime <pause dur="0.3"/> if you have any questions do <pause dur="0.2"/> come and ask <pause dur="0.5"/> # and your seminar's on <pause dur="0.2"/> Friday